5. James Mason in The Shooting Party - James Mason delivers an affecting portrayal of an elderly aristocrat watching time pass him by, worthy to be his final leading cinematic turn.

Best Scene: A final prayer.

4. Aleksei Kravchenko in Come and See - Kravchenko gives a powerful portrayal of the loss of innocence and devastation of a young boy through the horrors of war.

Best Scene: Witnessing the massacre.

3. Griffin Dunne in After Hours - Dunne gives an often hilarious and always effective portrayal of a sane man dealing with insanity of a single night.

Best Scene: Paul's breakdown.

2. Eric Stoltz in Mask - Stoltz manages to not be overshadowed by the appearance of character, giving a moving yet never simplistic portrayal of the honest person behind the mask.

Best Scene: Fighting with his mother.

1. Tatsuya Nakadai in Ran - Tatsuya Nakadai gives a masterful portrayal of his version of a formerly strong ruler, so powerfully realizing the man's descent into madness as his world fall apart around him.

Tuesday, 28 June 2016

Tatsuya Nakadai did not receive an Oscar nomination for portraying Hidetora Ichimonji in Ran.

Ran is a masterful loose adaptation of King Lear by Akira Kurosawa about the fallout from a warlord dividing his lands among his family.

Ran marks Tatsuya Nakadai's sixth collaboration with Akira Kurosawa, and his second in a leading role after Kagemusha. As with Kagemusha it is a role where it is easy to envision Kurosawa's former collaborator Toshiro Mifune in the part, Mifune supposedly was even the basis for the description of the character in the original script. Although it is easy to imagine Mifune in the film, which would have been a perfect sendoff for he and Kurosawa's samurai epics, the two apparently were not even on speaking terms at the time leaving us with Tatsuya Nakadai to take up the reigns once more. Luckily Tatsuya Nakadai is a rather talented chap himself. Nakadai was far younger than the character of the elderly Hidetora Ichimonji, leaving him to be heavily made up in the role, though judging by recent images of Nakadai that would still be necessary even if the film had been made to today in order to visualize a man worn away by time. The make up is there for more than to reflect the age of the character to begin with though, as it is reminiscent of the emotive masks of Japanese Noh theater, which makes the very image of Nakadai rather notable throughout the film.

Nakadai's own performance embraces the style of his appearance in the very exact movements of his character, that not only reflect the proper age of Hidetora, but also the Noh influence of his appearance. There is a certain style within Nakadai's physical manner that carries the certain elegant movement as though it is a dance of sorts. Nakadai though utilizes this well as it feels natural within his performance yet it makes Ichimonji stand out at all times in the film. Nakadai through it creates just the right kind of detachment from his surroundings that he still seems fitting to them, yet is never engulfed by them, fitting for the man Hidetora who at the beginning of the film shaped the land around him. The early scenes are of course in "good times" as he hunts with his sons and two other warlords. Nakadai is effective in that he projects an innate warmth that seems to reflect a proper leader, but even in these early moments he reflects something just a bit off within this. This is not something overt but rather very subtle that Nakadai brings to his performance. This is pivotal to the development of the story and Hidetora as a character, as he leaves an early indication of where his mental state will go later in the film, but also that the man is not exactly the wise old loving father he projects to be.

Hidetora decides to break up his kingdom among his three sons, each granting them a castle, while he believes they will hold his realm together, and work as one. Nakadai delivers the speech with an affirm sentimental touch that shows Hidetora's narrow minded vision of the future, that could only be perfection given that he has envisioned it. His first two sons are more than accepting of the plan and their father's logic, but his third son, Saburo, defies his father by questioning this logic. Saburo reminds Hidetora that his own accomplishments have only come from personal brutality and mercilessness. Hidetora's reaction is to exile Saburo and disown him, and Nakadai portrays the scene as an instinctual reaction from Hidetora. A moment Nakadai delivers as blunt anger as emotions rather than any sort of rational thought persuade him in his actions since his son not only questioned his wisdom, but also shattered his fantasy of what he's created with his life. Saburo though is sent off and Hidetora believes he will be fine in his retirement by dividing his time with his remaining two sons. Of course complications quickly develop from this as he stays with his elder son Taro.

The first complication stemming from Hidetora still believing him to be living in different world than he actually is. Nakadai is excellent by playing just a hint of insanity in Hidetora as he still behaves as the Lord supreme without a care in the world in what is now his son's castle, and does nothing to discourage his own men from mocking his son. The second complication comes from Taro's wife Lady Kaede (Mieko Harada) who seeks vengeance against Hidetora, since he destroyed and massacred her family. This leads to Taro attempting to inflict his own power over Hidetora and essentially set his father straight who now is in charge. Nakadai is once again brilliant in bringing out the intensity in Hidetora as his own view is once again broken, and all he is forced to do is lash out against it once more. Nakadai does not portray this as the same as against Saburo though, as Nakadai brings just a bit more vulnerability in this rage as he realizes that Taro never loved him. Hidetora is forced to leave and decides to go to his next son Jiro's castle. While Jiro's wife Lady Sue is forgiving for Hidetora's massacre of her family, which leaves a moving moment in Nakadai's performance as he eases out more weakness in the sadness he reveals as he sees her happiness despite what he has done, but Jiro is as ungrateful as Taro sending his father away once more.
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This leaves Hidetora to go to his third and final castle, which had been intended for Saburo, but his stay is short lived as Taro and Jiro's forces attack to evict him. The attack which involves the deaths of almost all of Hidetora's men, and the suicides as well as murders of the castle's concubines, is one of the greatest scenes ever crafted by Kurosawa. Nakadai is essential to the power of the sequence remaining finding the human loss at the center of it all, as Hidetora can only witness the death and destruction that he has inadvertently caused by his poor decisions. Nakadai is devastating in the sequence as his face seems to absorb all of violence and the strength the man once possessed fades. Nakadai is haunting as he realizes the pain that overwhelms Hidetora to the point that he has now found a new detachment in madness due to reality being too hard to bare. For much of the rest of the film Nakadai's performance is set though it carries no less of an impact in his portrayal of the shell Hidetora has become as a man lost in his own mind. This is opposed by other portrayals of King Lear's madness, however Nakadai's approach is incredibly affecting as his depiction of Hidetora is that of man barely holding on to the bit of life he has left. Hidetora stays in this state until he is finally reunited with Saburo, and Nakadai bring such a somber beauty as the old man finally can appreciate what he had. This too is dashed in a matter of seconds and Nakadai's final reaction is heartbreaking as he shows a man's soul vanish in an instance. This is a masterful portrait by Nakadai as a man as his own domain. The strength in the beginning, with faults hidden by bluster, to being torn from within to a husk of its former self, to finally being quietly snuffed out like a candle rather than a great blaze.

Tuesday, 21 June 2016

James Mason did not receive an Oscar nomination for portraying Sir Randolph Nettleby in The Shooting Party.

The Shooting Party tells an interesting story, though it lacks a certain cinematic flair, about a pheasant hunt among English aristocrats just before the break out of World War I.

The Shooting Party marks one of the final films of one of James Mason, and one of his three films that were released posthumously. It is slightly muddled what exactly was his final film, filmed or released, but this seems to be his final leading performance in a theatrically released film. Then again the leading designation is also a bit muddled given the film's wavering focus, Mason's character Sir Randolph seems to stand out the most, although that might have more to do with Mason than the writing or the direction of the film. This allows time to just about everyone in and around Sir Randolph's grounds but Randolph seems at the center of it all. This role is as well suited for Mason as every suit he ever wore in a film. The role of the aristocrat is naturally perfect for Mason who handles refinement with such an flawless fashion, while still creating a definite command through it. This serves well Sir Randolph who is well respected throughout the film though his actions are fairly limited, this view is earned through Mason's performance which exudes the precise sort of stature needed for an old landowner.

Mason's performance often is reactionary yet the notable thing about this is he is never overshadowed despite the nature of his role. Mason makes Sir Randolph feel as the core of the film, even when it is covering some other conflict or interpersonal relationship away from him. Mason is brilliant in his reactions as his face is never silent even when he is not speaking. Randolph differs from many of his family members and fellow aristocrats by seeming to hold true a different set of values than the rest of them. This actually is barely verbalized during the film but rather all in Mason's work. Mason is terrific in portraying the exasperation and even confusion in Randolph as he ponders the way his wife is caught up in the society, as well as the concern at the merciless competitive nature of his younger guests. Mason always carries a certain grace that suggests man whose own beliefs are of a simpler, perhaps purer motive that also separates him somewhat from the rest. Mason's presence in any given scene adds a much needed additional nuance to the film whether it is that mute commentary, or even a more positive element such as the warmth suggested when observing the children on the estate.

There are moments when Sir Randolph is allowed to speak, and these are the best moments of the film. There is one particularly effective scene where an anti-hunting activist, played by John Gielgud, comes around to protest the shooting party. Mason and Gielgud are both rather perfect in the scene, as they instantly strike up a chemistry in the moment. They have a different single belief yet Mason and Gielgud convey well that the two are kindred spirits in terms of their personal natures. The two make the scene even rather amusing by showing how properly the two of them disagree on the point of hunting all the while the two come to an understanding of sorts as Sir Randolph notices how nicely made the activist's pamphlets are made. The two of them manage to be hilarious by actually keeping conversation so natural despite how quickly the two go from a proper debate to a mutual admiration of good printing. As I wrote before Sir Randolph perhaps was not even meant to stand out as much as he does, but Mason's performance ensures this. Mason work goes beyond merely making Randolph a compelling character, but also carries through the subtext around the story. Mason builds well almost a sense of dread in so carefully setting up those moments of a detachment in Randolph to the rest of the shooting party. The film climax involves one of the shooters' beaters, the poor men who get the birds to fly to be shot, is accidentally shot and severely injured. The one man who seems to recognize the severity of the situation is Randolph. Mason is outstanding in this as he almost has Randolph fully reveal his humane values all in this moment, which he so effectively alluded to throughout the film, in his earnest show of empathy for the injured man. Mason is so powerful as he tries to save the man, and completely heartbreaking as he sees the man dying in front of him. It's such a beautifully rendered moment that is only more poignant knowing it would be some of the last words he ever said on screen. It ends the film in such an affecting manner as not only the loss of the man is felt, the loss of a time as well, but also the loss of the talent of one of the greatest actors who ever lived.

Tuesday, 14 June 2016

Griffin Dunne did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Paul Hackett in After Hours.

After Hours is a very entertaining black comedy by Martin Scorsese, even though I'm not quite sure if it climaxes quite right, about a man trying to escape SoHo while suffering a series of misfortunes.

Griffin Dunne makes for an unusual Scorsese lead since he's just an average schmoe, well word processor, who decides to take a trip to SoHo after setting a date with an attractive woman named Marcy (Rosanna Arquette). Now unlike most Scorsese protagonists there's not much inherently wrong with Paul before he sets off into the night. Dunne is able to create an innate likability. He doesn't do this through an excessive amount of charm, that would be ill fitting to who Paul, but rather just an openness in his expressions that honestly reveals that Paul's not hiding a thing from we the viewers. Of course things start to go south pretty quickly when his twenty dollar bill, basically his only cash, flies out his taxi cab window. Things don't exactly get much better when he finally arrives to his destination. He first find Marcy strange roommate Kiki (Linda Fiorentino), but when he meets up with Marcy as well things don't exactly get any better. As it quickly appears that Marcy seems a bit off herself in her behavior especially when she goes on to describe her other relationships which are more than a little atypical in terms of the details.

Dunne is very good in these scenes as he portrays such a courtesy early on in dealing with their rather unique personalities to say the least. Dunne keeps Paul trying to make the best of the situation, but is terrific by so quietly showing his confused reactions as one thing happens after another. Dunne builds this in a way in terms of his relationship with Marcy. Dunne so eloquently realizes the odd state it puts Paul in as he tries to deal with her mix of signals since she says things that are rather off putting while she still seems interested in him. Dunne finds the right combination of hapless and earnest as he tries to maneuver through the minefield, and is on mark throughout these scenes. Eventually Paul stops the date after all of that in addition to finding some indications that Marcy might suffer from severe scarring from burns, now in terms of the film this is Paul at his least likable. Dunne succeeds in making this seem an earned reaction as he builds to the point nicely as a nervous reaction that he shows comes from not only that possibility but also everything else he has experienced up until that point.

Of course his failed date with Marcy is far from the end in terms of Paul's misfortunes. Now what proceeds forward weighs heavily on Dunne in order to make the film work at all. The film ends up being a series of very unfortunate events for Paul as there is one spot of bad luck after another. This goes to the point that he not only becomes stranded but also slowly becomes a hunted man due to the local denizens getting it into their heads that Paul must be thief. Now Dunne's work is magnificent. His early scenes were essential in that he sets up Paul as a likable enough guy for us to follow, but it only becomes easier to empathize with guy as the night proceeds because of how genuine Dunne's performance is throughout. Dunne's work here is pitched perfectly and in a way that without a performance like this the film might have fallen completely apart. Almost all the other performers seem on some other wavelength as they seem at the very least slightly mad, however Dunne is steadfast in portraying Paul as just this normal guy stuck in this insanity. Dunne work bridges this pivotal gap of sorts though in that he does not simply represent reality, but takes it one step beyond.

That step beyond being that Dunne's performance is absolutely hilarious in its own right. He makes this always wholly sensible though as the comedy from his performance always comes through the honest reactions to the madness that Paul deals with. Dunne does not waste a single second of his work though as he also facilitates every other performance in the film through his own. In fact the majority of the performances in the film might not have worked if it were not for Dunne who bounces off them so flawlessly no matter the situation. Now this can be in the directly comedic moments such as fast talking his way from a police officer who caught him jumping the barrier, being rather frightened by a demonic Catherine O'Hara as an ice cream truck driver, trading banter with a bouncer, or trying his best to not offend yet not encourage a love struck waitress. Dunne switches it up so naturally though even to a more somber note when he goes back to visit Marcy, or deals with her boyfriend, or even to a more charming aside when he dances with an older woman at a bar. No matter the scene Dunne cuts right to the core of it and brings the best out that any scene has to offer.

Although a strong basis for Paul's point to the story is to be the sane man to the craziness, and to Dunne's credit he's one of the best sane men you'll ever see. Dunne's performance though is not even a constant as many straight man performances go. Dunne again goes further in portraying along with Scorsese's direction the growing paranoia and distress of the situation. Dunne though is never overshadowed by what Scorsese does but matches it every step of the way himself. Dunne is amazing in his portrayal of the gradual decay in Paul over the night. Dunne from one scene to the next so effectively presents how tired Paul is getting from the night. You can feel it in Dunne's appearance and physical manner to the point that you just want the guy to see a good night's sleep. Dunne goes further though again by absorbing every event in the story. Dunne builds so well the wear from terror and stress in Paul as one thing goes wrong after another that earns one amazing breakdown scene where Paul breaks down the night's events. This is a masterclass straight man performance by Griffin Dunne as his grounded, yet still incredibly entertaining presence, weaves the insanity together into a captivating whole, which could have failed without him.

Tuesday, 7 June 2016

Eric Stoltz did not receive an Oscar nomination, despite being nominated for a Golden Globe (absurdly for supporting actor), for portraying Roy "Rocky" Dennis in Mask.

Mask is an affecting film about teenager with a facial deformity trying to live a normal life alongside his biker mother Rusty (Cher).

Eric Stoltz has a bit of unfortunate notoriety attached with one of the most notable films of 1985, Back to the Future, where he was the original actor cast as Marty McFly, though not the original choice, to the point he shot several scenes, and can even still be scene very briefly in the film. Apparently not being quite right for the role, in that he was not Marty McFly as Michael J. Fox was, he was replaced by Fox which was fitting given that Fox was the original choice to begin with. Any chance at stardom seemed set to allude Stoltz by fate since he had another leading role in 1985 here in Mask, but the film's whole point setup Stoltz to be unrecognizable. Stoltz plays Rocky who is based on a real person who suffered from a condition that caused calcium to build up on his skull which caused his head to enlarge abnormally. Stoltz has a set challenge from beginning as he is always encased in this thick makeup throughout the film. This challenge is particularly important for the film itself given that Stoltz's work needs to overcome the makeup in a way, that makes him more than the makeup while still making it seem like a natural part of the character.

Stoltz accomplishes that with his performance as the makeup just seems part of him, and we only really see him as this kid with this condition. Stoltz never seems restricted by it as his eyes allow more than enough expression even as the rest of his face is set in place. Now the remarkable element of Rocky in the film is that this is not about someone living a different life through this condition, instead it is about him trying to live as normally as he can. This is set up well in an early scene where after a checkup the doctors tell Rocky he only has a few months to live, but both his mother and Rocky dismiss this given that they've heard this so many times before. That is not to say they are ignoring the idea, but rather not allowing it to control Rocky. Stoltz makes the decision to play Rocky as naturally as a he possibly can. He speaks with just the voice of an average teenager, he physically acts without mannerism. Stoltz makes the right decision as he shows firmly from the start that Rocky is just the same as anyone else except for some unneeded calcium on his skull. This is not to say that Rocky is completely unaffected by his condition, but this is not handled as one might expect.

The emphasis is on optimism for Rocky rather than any sort of pessimism. Stoltz's portrayal of this is remarkable as he is able to realize it in such a genuine fashion. Stoltz brings this energy of personality in Rocky that creates this certain charisma in him as someone who is willing to be anyone's friend. What I love about how Stoltz does this is that he does not portray this as effortless, but at the same time makes it completely honest. Stoltz subtly alludes to the recognition in these moments that Rocky knows its time to put on a bit of charm. He does not handle these moments with an ounce of cynicism though, instead portraying an understanding that this is what he must do to help others get over their reaction to his appearance. Stoltz makes Rocky actively likable in that he shows Rocky as someone who is always trying to win over someone best he can no matter what, given that if he did not do this he would be completely ostracized. Stoltz makes Rocky's success with the other teenagers convincing since he remains such a consistently endearing young man.

Although optimism defines Rocky much of the time Stoltz never allows Rocky to become one note, nor does he even allow the optimism itself to be simplistic. Stoltz is brilliant in the moments where he interacts with people who are seeing him for the first time because he does bring just a subtle hint of the discomfort in Rocky at seeing others initial revulsion to him. Stoltz portrays what Rocky himself must get over with his optimism by so effectively showing these vulnerabilities in Rocky. He portrays that most of the time he can override it through his upbeat personality, but it never is completely gone. Stoltz is especially strong in realizing the way these insecurities occasionally rise when something specifically occurs that reminds maybe a bit too much about his condition. Stoltz is terrificsince he even keeps this moments fairly low key yet quite powerful. He shows so well the way it cuts deeply in him in this specific unease that seems ingrained unfortunately through his experience of life. Stoltz makes it so when there is the time for a more dramatic breakdown it not only is heartbreaking but completely earned in the moment.
Now two of the most important aspects to the film comes in Rocky's two most pivotal female relationships. A romantic one being with a blind girl Diana(Laura Dern). This is made to be just a very nice and altogether sweet relationship. It works though as they share the right chemistry, and Stoltz does well to show the way Rocky overcomes a natural shyness in regards to his appearance throughout their scenes together. The strongest aspect of the film though is in Rocky's other relationship, which is with his mother Rusty. The relationship is based in love as Cher and Stoltz both realize the needed genuine warmth between the two, as Rusty fights for Rocky to be treated normally with fierce dedication. The relationship though is more complex than that in large part due to Rusty's drug addiction and problematic lifestyle. Both Cher and Stoltz are fantastic in finding the depth in the relationship between the two as their moments of fighting are made raw and realistic. Stoltz does not sugar coat Rocky's disappointment in his mother's behavior, and by doing so he allows the tender moments to be all the more moving. One can see the history between the two in every moment they share together making the final scenes of the film rather devastating. Eric Stoltz gives an outstanding performance that is never defined by the makeup, as he successfully acts through it to give a complex portrait that makes Rocky so much more than just a boy with a tragic condition.

Wednesday, 1 June 2016

Aleksei Kravchenko did not receive an Oscar nomination for portraying Flyora in Come and See.

Come and See is an effective and unflinching depiction of a boy experiencing first hand the horrors of World War II in a Nazi occupied portion of the Soviet Union.

Aleksei Kravchenko plays the young boy in Belarus who we first see in the opening of the film looking in a field for an abandoned rifle with his friend. Flyora as a character is defined simply enough as just a normal boy in this situation and there is not an extreme depth to him, nor does there need to be. Throughout the film he does not have an exorbitant amount of lines, and much of the burden of bringing across the personal story of Floyra is left to the young Kravchenko. In the early scenes as Flyora finds the rifle, and goes about joining the Soviet partisan forces. Kravchenko does well in the role by just finding the realistic attitude in the boy as he finds the right expression of joy while first finding the rifle, then unease as he must leave his mother and sisters to join the soldiers. Kravchenko finds the complexity of the moment by showing the certain happiness of a presumed maturation by becoming a soldier, while still representing the fear of taking this step in the unknown. Upon his arrival in joining the camp of soldiers Flyora finds that there is nothing special to be found as he is immediately assigned a menial task.

The frustration of the position is well marked by Kravchenko though this switches to something else when a girl Glasha comes upon him and kisses him. Kravchenko is excellent by portraying the sheer confusion of the young boy at the action as he just can quite know what to do with what happens, and importantly shows that it is not that Kravchenko did not like it, he just does not understand it. In their other scenes together Kravchenko reflects as he interacts with her in a certain shyness that so effectively depicts the state she has left him in. However such confusion are not allowed to last the horrors begin as Nazi planes bomb the encampment leaving Floyra temporarily deaf. He and Glasha attempt to run back to Floyra home. Kravchenko's work portrays this deafness is well as he portrays a narrow view almost caused by his inability to know anything beyond his eye sight. This leads to a disturbing scene where Floyra misses his town, including his family, in a pile of dead bodies having been massacred behind a house while Glasha sees what has happened. Kravchenko makes this all the more heartbreaking by showing still a youthful enthusiasm in Floyra as he runs to find his family, he believes is hiding, as though its like he's playing a game with his family.

Eventually Glasha is able to convince him what has actually happened after they once again find the partisans and the surviving locals of the area. Kravchenko holds back somewhat in this moment though in his portrayal of grief, though it feels honest nonetheless. Kravchenko keeps a detachment that seems to reflect that he did not personally see the deaths, though he already will never be the eager young boy looking in the sand again. Floyra briefly finds a respite of sorts though as he works with a small partisan group that does not end particularly well as his comrades die, and his efforts all fail. Kravchenko portrays an earnest optimism in these scenes with Floyra still on a mission and there a hope that one can notice in his eyes. This hope is not long for the world though as the film moves into his last act where Floyra comes upon a group of Nazis who have occupied a village, and put him into a house. The atrocities only mount in this scene, as Floyra only escapes death himself when the Nazis allow those to leave who do not have children.

Floyra is stuck there as he must witness the terror of the scene as the Nazis casually go about murdering those in the house, raping a woman who left it, and even pretending like they are going to shoot Floyra in the head for a photograph. The scope of Kravchenko's performance technically becomes limited as he barely says a word, but the power of his performance is not diminished in the slightest. Kravchenko's reactions stand as an almost unbearable human attachment to the unrelenting butchering by the Nazis. Kravchenko is absolutely haunting as the sheer extent of every murder is seen through his eyes. Kravchenko only through these moments seems to age fifty years and by the end of the massacre Kravchenko appears more like an old man than a child. There's not a hint of hope, joy or any optimism it seems in his face, just every sight he saw pent up in him which has worn away Floyra's soul. This is only broken when Floyra finally shoots his rifle at a painting of Hitler. Kravchenko is outstanding as all the pain, anger, and finally the unbearable grief pour out in this silent yet palatable scream of this living victim. Aleksei Kravchenko's work here is truly remarkable as he is never lost in the film, but only amplifies its visceral imagery through his portrait of not just the loss of innocence but also the loss of life even without death.